It has been quite some time since I attended a movie screening, not to mention a premiere. Going to a movie premiere is like opening a letter from someone you have just sent a love declaration letter to. You do not know what is inside the reply. The girl might have rejected you and preferred to remain friends but the girl might also say yes and how long it was that she hoped you have written to her.
Hmmm… maybe that is a little dramatic but the point is that going to a premiere is very exciting. You have heard about the movie for some time, the hype is building up, etc. and now is the time for you to see it yourself.
This was what happened to me for BUNOHAN. The marketing and PR work was superbly executed, creating a lot of hype and anticipation. After months on end anticipating, the Malaysian premiere was last night and I was lucky to be able to watch it.
Not that many people cared about what I think about the movie but since this blog is a lot about what I do and what I think and since I do write quite a bit about movies, I just want to record down my thoughts on BUNOHAN.
Poetic. Complex. These are the two words that comes to mind immediately. The surface storyline does not sound extraordinary. In fact, if summarised to just a couple of sentences, it sounds just like any normal local movies. But as in all good movies, what is extraordinary lies with the execution of the movie itself.
At its core, it tells the story of a powerful conglomerate from Kuala Lumpur who wants to acquire a piece of inherited land and the things people do to protect that land and the things people do to acquire the land, by hook or by crook. Bla bla bli bla bla bla…..Yawn…..
But that is the McGuffin, nothing more. At the end of the movie, one wonders what is right and what is wrong, what is true and what is false. As Lao Tzu said, what is beautiful is in fact ugly, what is ugly is in fact beautiful. The use of folk lore and myths, the supernatural, adds another layer to the movie in the Jungian sense. Myths and symbols, the collective unconscious.
BUNOHAN can be appreciated at many levels. At the most basic level, one enjoys the story, the fighting, the beautiful mise-en-scene. The deepest level, I don’t know what. I have not really fathom so deeply but it inspires one to think, if he or she is willing. It tells about the society, about our own inner demon, about what it means to be family, about what it means to have a tradition and such.
The acting is superb, especially so from Faizal Hussein. The tempo at mid-way through is a bit slow and the story does not develop much midway through. The curiosity surrounding the story of Adil’s parenthood can be heightened. The fighting scenes can be made more exciting.
Let’s perhaps look at this compared to Farhadi’s A SEPARATION. It is also a story of a family and their struggles. It also has a Hitchcock-like mystery. The shooting style and mise-en-scene is very different of course. The tempo in A SEPARATION is much faster. But at the end of it, it is also about confronting our inner devil, about the society that we live in and how we, as a part of this society, fit into it or fight against it and try to make some sense out of it.
But the million dollar question is will it give OMBAK RINDU a run for its money? The answer is perhaps it does not need to. Malaysia needs talented people like Dain to lift it up another notch. We need good substantial movies. Others can go ahead and make a lot of money but at the end of the day, what remains and will be remembered of a civilization is its arts and culture.